摘要
从1981年《春夜雨霏霏》登陆《莲池》开始,到2011年的《蛙》荣获茅盾文学奖,莫言小说创作主体意识经历了三度跃迁。三度跃迁的代表作分别应该是《红高粱》、《檀香刑》和《蛙》。纵观莫言小说创作主体意识30年三度跃迁,有一个共同的现象值得研究者关注:莫言所写的所有坏人里头,没有一个是女人,文本强烈地表现出了作家主体的男性视角,以弗洛伊德心理分析理论来看,这是俄狄浦斯情结中恋母情结视角。这是莫言的一种潜意识,这也许与莫言从小获得母爱甚少有关。这种情结的萦绕,总是使莫言的作品潜含着温情和爱的渴望。
Mo Yan has undergone three transitions in the subject consciousness of his literary creation from the publication in 1981 of his Chun Ye Yu Fei Fei （ Heavy Rain on A Spring Night） in the periodical The Lotus Pool to his honor of winning the Mao Dun Literature Award with his The Frog in 2011, with the master works of the three transitions being The Red Sorghum, The Sandalwood Punishment, and The Frog respectively. A survey of the three transitions in the subject consciousness of Mo Yan＇ s literary creation has demonstrated one common fact worthy of attention among researchers, that is, no female can be found in the bad guys in his novels while the texts have evi- dently shown the male perspective in his subject consciousness--a perspective of the mother complex in the Oedipus complex judged from the psychoanalysis theory of Freud, which, a latent consciousness of Mo Yan, may be related to his shortgae of mother love in his childhood. The recurrence of such a compex has always filled Mo Yah＇ s works with a desire for tender feelings and love.
出处
《海南师范大学学报（社会科学版）》
2012年第4期57-59,共3页
Journal of Hainan Normal University(Social Sciences)
关键词
莫言
主体意识
跃迁
男性视角
恋母情结
温情
爱
der feelings
loveMo Yan
the subject consciousness
transition
the male perspective
the mother complex
ten-
